:Berber music

Berber music is characterized by its use of folk oral traditions, as well as particular scales and rhythmic patterns, which include pentatonic music and African rhythms.{{cite web |url=http://www.alwanforthearts.org/event/282 |title=Berber Music of Morocco and the Middle Atlas |publisher=Alwan for the Arts |date=25 October 2008 |access-date=15 September 2013 |archive-date=21 May 2013 |archive-url=https://web.archive.org/web/20130521030929/http://www.alwanforthearts.org/event/282 |url-status=dead }} All these elements are combined to form one of the main sources of entertainment in Berber social ceremonies like marriages, as well as verses, tales and songs.

{{Unsourced section|date=June 2023}}

The Berber people are spread out over a large part of Africa, but are mostly concentrated in the northwestern region of Africa. {{Citation |last=Ehret |first=Christopher |title=Berber Peoples in the Sahara and North Africa: Linguistic Historical Proposals |date=2019 |work=Burials, Migration and Identity in the Ancient Sahara and Beyond |pages=464–494 |editor-last=Mattingly |editor-first=D. J. |url=https://www.cambridge.org/core/books/burials-migration-and-identity-in-the-ancient-sahara-and-beyond/berber-peoples-in-the-sahara-and-north-africa/44F7D6C3718F8F9A36B67BE5EC874275 |access-date=2024-08-01 |series=Trans-Saharan Archaeology |place=Cambridge |publisher=Cambridge University Press |isbn=978-1-108-47408-5 |editor2-last=Sterry |editor2-first=M. |editor3-last=Gatto |editor3-first=M. C. |editor4-last=Ray |editor4-first=N.}} They use a vast array of both melodic and percussive instruments. The following instruments are part of their secular and religious dance and song:

File:Taghanimt_ou_taqsebt_1.JPG

• Taghanimt, an end-blown reed flute. Used mostly to accompany songs rather than dance, the taghanimt has a rich, breathy texture.
• Mizwid, a type of bagpipe; the term literally means "bag" or "food pouch".
• Zukra{{clarify|date=December 2015}} (Tunisia) or ghaytah{{clarify|date=December 2015}} (Morocco). In both countries, these instruments are combined with several percussive instruments to create large ensembles which may perform at public festivals or similar occasions.
• Nafir, a long natural horn, a type of valveless trumpet. This instrument is used mostly as a signaling instrument to send out messages to large groups, although it also has some performance value.
• Ginbri (Morocco), a fretless plucked string instrument with a skin stretched over its body on the playing side: the skin has the same acoustic function as the membrane on a banjo. Most ensembles have at least one ginbri, although some have more than one.
• Rebab, a long-necked bowed instrument with a large body. Like the ginbri, it is constructed with a skin on the string side. This instrument has only one string, usually of horse hair, and is commonly played alongside the ginbri.
• Tabl ({{langx|ber|e'ṯbel}}), a cylindrical double-sided drum. Although it has a similar usage and spelling to the tabla of India, no direct connection has been found between the two. The qas'ah is a large shallow kettledrum found mostly in Tunisia. Similar to the qas'ah is the Naqqarah, two ceramic kettledrums played simultaneously by both hands.
• Bendir (Morocco and Algeria ), a snare frame-drum. A series of bendirs played simultaneously provide the main percussive rhythm for Berber music as the above-mentioned drums are more artistic than bendirs.
• Qaraqib, a large metal castanet-like musical instrument. Normally one is held in each hand. These may be used to keep a rhythm or to play their own pattern.{{cite web |url=http://www.classicalarabicmusic.com/instruments.htm |title= Musical Instruments|website=www.classicalarabicmusic.com |archive-url=https://web.archive.org/web/20090506144420/http://www.classicalarabicmusic.com/instruments.htm |archive-date=6 May 2009}}
• Tende, a drum made with mortar and pestle.

{{see also|Music of Algeria}}{{Unsourced section|date=June 2023}}

The music of the Kabyle Berbers has achieved some mainstream success outside of its Kabylia homeland, both in the rest of Algeria and abroad. Traditional Kabyle music consists of vocalists accompanied by a rhythm section, consisting of t'bel (tambourine) and bendir (frame drum), and a melody section, consisting of a ghaita (bagpipe) and ajouag (flute).{{Citation needed|date=January 2021}}

In the 1930s, Kabyles moved in large numbers to Paris, where they established cafes where musicians like {{ILL|Cheikh Nourredine|fr}} added modern, Western instruments like the banjo, guitar and violin to Kabyle folk melodies. Slimane Azem was a Kabyle immigrant who was inspired by Nourredine and 19th century poet Si Mohand Ou Mohand to address homesickness, poverty and passion in his songs, and he soon (like many Kabyle musicians) became associated with the Algerian independence movement.

By the 1950s, Arab classical music, especially Egyptian superstars like Umm Kulthum, had become popular and left a lasting influence on Kabyle music, specifically in lush orchestration. Cherif Kheddam soon arose with the advent of a Kabyle branch of Radio Algiers after independence in 1962, when France called a cease fire on 19 March and enacted the voting upon an agreement during a referendum in June. Included here were the Evian Accords which, for three years with all Algerians gave certain legal protections to colons equally. After the three years however, all Europeans would have to become Algerian citizens or risk being classified as aliens, which would then make them lose rights. Some of the rights discussed in the Accords were the right to participate in public affairs, the right to a full range of cultural and civic rights and the right to own property. Female singers also became popular during this period, especially Cherifa, Djamilla and Hanifa.

Algerian independence did not lead to increased freedom for Kabyle musicians, and these Berbers soon included often covert lyrics criticizing the Ben Bella government, which had little repercussion due to the Evian Accords. Many of these musicians were inspired by other singer-songwriters, including Joan Baez and Bob Dylan, Víctor Jara and Silvio Rodríguez. With the song "A Vava Inouva" (1973), Idir brought international attention to Kabyle music and paved the way for the Algerian raï genre. Ferhat Mehenni, known for his politically uncompromising lyrics, Lounis Ait Menguellet, known for his poetic and inspired lyrics, also became popular during the 1970s and Amour Abdenour, whose ongoing career started in 1969 wrote and performed about kabyle society, nature and more importantly love relationships.

By the time raï became popular in Europe in the 1980s, Kabyle artists were also moving towards sentimental, pop-ballads. Hassen Zermani's all-electric Takfarinas and Abdelli's work with Peter Gabriel's Real World helped bring Kabyle music to new audiences, while the murder of Matoub Lounes inspired many Kabyles to rally around their popular musicians.

Modern singers include Djur Djura and many chawi singers and groups like Houria Aichi, Les Berberes, Amirouch, Massinissa, Amadiaz, Numidas, Mihoub, Massilia, Merkunda, Thiguyer, Salim Souhali (Thaziri), Dihya, and Messaoud Nedjahi.

{{see also|Music of Morocco}}

Traditional Moroccan Berber music can be categorised into collective and professional music.{{cite dictionary|first=Hsain |last=Ilahiane |title=Music |encyclopedia=Historical Dictionary of the Berbers (Imazighen) |url=https://books.google.com/books?id=0E8qp_k515oC&pg=PA98 |date=2006 |publisher=Scarecrow Press |isbn=978-0-8108-6490-0 |page=98}}

File:COLLECTIE TROPENMUSEUM Dansgroep uit Ouarzazate tijdens het Nationaal Folkore Festival in Marrakech TMnr 20017663.jpg performing ahwash during the National Folklore Festival in Marrakesh (1970)]]

In collective musical performances, men and women from entire families or villages participate in communal dances such as the ahwash and ahidus. A prayer is chanted at the beginning, followed by a response from a chorus of dancers. Accompanied by drums {{transliteration|ber|bendir}} or {{transliteration|ber|tbel}}) and other percussion instruments, performers dance in two parallel rows or in a circle around the musicians.{{cite book|first=Dave |last=Muddyman |editor1=Simon Broughton |editor2=Mark Ellingham |editor3=Richard Trillo |chapter=Morocco |title=World Music: Africa, Europe and the Middle East |url=https://archive.org/details/roughguidetoworl00simo |url-access=registration |year=1999|publisher=Rough Guides |isbn=978-1-85828-635-8 |pages=[https://archive.org/details/roughguidetoworl00simo/page/567 567]–569}}

Led by an {{transliteration|ber|amdyaz}} or poet, groups of usually four professional musicians ({{transliteration|ber|imdyazan}}) travel across the region to perform in various villages. The {{transliteration|ber|amdyaz}} recites improvised poems about current national and world affairs. His fellow musicians accompany the poem with a drum, a single-string {{transliteration|ber|rebab}} and a double clarinet.

A Shluh tradition of community music and dance is performed by the musicians and singers of the {{transliteration|ber|rrways}} style, led by a {{transliteration|ber|rrways}} or {{transliteration|ber|raiss}}. A {{transliteration|ber|rrways}} performance starts with the {{transliteration|ber|astara}}, an instrumental session on the rebab or lutar, followed by the tambourine and flute. The {{transliteration|ber|astara}} sets the basic notes of the melody. The middle section consists of sung poetry ({{transliteration|ber|amarg}}), a choreographed overture ({{transliteration|ber|ammussu}}), a lively song ({{transliteration|ber|tamssust}}), and dance ({{transliteration|ber|aberdag}}). The {{transliteration|ber|tabbayt}} marks the final part, in which the rhythm first accelerates and then ceases abruptly. In 2021, an anthology of the art of the "Rrways - a journey into the realm of Amazigh wandering poet-singers", presenting a booklet and ten compact discs with current recordings, received the ' Prix Coups de Cœur - Musiques du Monde' of the Académie Charles Cross in France.{{Cite web|last=Al Bayane|date=2021-03-18|title=L'Anthologie sur l'art des Rrways primée en France|url=https://www.msn.com/fr-xl/afrique-du-nord/other/l-anthologie-sur-l-art-des-rrways-prim%C3%A9e-en-france/ar-BB1eu7zs?getstaticpage=true|url-status=live|access-date=2021-04-17|website=www.msn.com|archive-url=https://web.archive.org/web/20210417153653/https://www.msn.com/fr-xl/afrique-du-nord/other/l-anthologie-sur-l-art-des-rrways-prim%C3%A9e-en-france/ar-BB1eu7zs?getstaticpage=true |archive-date=17 April 2021 }}

Famous Moroccan Berber musicians include Ammouri Mbarek, a singer and songwriter active since the 1960s and considered by many Berber music enthusiasts to be the "John Lennon" of the Berbers, and Najat Aatabou, a singer whose debut cassette, "J'en ai Marre", sold an unprecedented half-million copies in Morocco.{{citation needed|date=October 2014}} The Master Musicians of Jajouka tour internationally and have collaborated with Brian Jones of the Rolling Stones and William S. Burroughs.

Many musicians have created fusion styles from Berber and European music, including Hindi Zahra, Hassan Hakmoun, Khalid Izri, Hassan Idbasaid, Thidrin, Med Ziani, Imtlaa, Houssaine Kili, Salima Ziani, Abdelhak Akandouch and others.

{{See also|Desert blues}}{{Unsourced section|date=June 2023}}

The Berber music of the Tuareg region uses rhythms and vocal styles similar to the music of other Berber, Iberian, and Arab music, while West African call-and-response-style singing is also common. In contrast to many of the region's peoples, among the Tuareg music is mostly the domain of women, especially playing the imzhad, a string instrument like a violin. Tuareg weddings feature unique styles of music, such as women's vocal trilling and special dances (ilkan) of slaves marking the occasion.{{Citation needed|date=January 2021}}

{{Reflist}}

• Islamic music
• Arabic music

{{DEFAULTSORT:Berber Music}}

Category:Music of Morocco

Category:Music of North Africa

Category:Music of Algeria

Category:Music of Mali

Category:Music of Niger

Category:Music of Burkina Faso

Category:Berber culture